Though the term doppelganger - translated as “double walker” - first saw print in Jean Paul’s German Romantic novel, Siebenkas, in 1796, the motif of the evil twin as externalized self draws upon millennia of world mythology. Ancient legends of Roman, Indian, Norse, Native American, Egyptian and Greek origin all recount the consequences of tumultuous twins – one good, one evil and often unaware of one others existence, until a fateful and ontologically devastating meeting. The philosopher Aristotle contributes the earliest recorded firsthand account of such an encounter to the historical record.
German folklore, in particular, regarded the doppelganger as a physical reality and believed that anyone visited by their literal “personal double” was marked for impending death. From there, the phenomenon would go on to become a popular occurrence the greater European Romantic movement, but not only the page. In the eleventh volume of his autobiography, Johann Wolfgang von Goethe tells of spying his doppelganger - exact in every detail, but dressed in gold-trimmed suit - approaching from the opposite direction on the road. Eight years later, the writer found him self traveling the same path as the stranger and realized that he was, in fact, wearing the very same gold-trimmed suit. Unlike most doppelganger tales, Goethe tells of it being a calming and peaceful occurrence; most others would find the experience to be just as, if not more, foreboding than folktales on which they were predicated.
English poet Percy Blythe Shelley, while visiting the Italian city of Pisa, encountered a hooded doppelganger, who upon revealing his face, Pisa said but two words: “Siete soddisfatto (Are you satisfied)?” Shelley would go on to drown in the Mediterranean shortly before his 30th birthday. French novelist Guy de Maupassant wrote about meeting doppelganger “face-to-face.” While writing his story, “The Horla,” Maupassant’s double entered his study, casually sat itself and began to dictate the contents of his freshly written page as if from memory.
Such accounts certainly make for entertaining reading and fiction writers too began to parlay the concept into a string of memorable successes. Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Dostoevsky’s The Double (A Petersburg Poem), Twain’s Pudd’nhead
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Wilson, Poe’s short story “William Wilson” and multiple works by Kafka all include doppelgangers as a reality altering, terror inducing plot devices. James George Frazer, in his 1890 benchmark study of comparative mythology, The Golden Bough, defined the phenomenon as “a physical manifestation, or result, of an inner being existing without” - proof that even as the 20th century approached, encounters with these externalized alter-egos – whether hallucinatory, embellished or genuinely supernatural experiences – continued to tap the unconscious fears and foibles of the human psyche. | ||||||||||||
Tags: 1796, Aristotle, Biography Mark Twain: His Amazing Adventures, Doppelganger, double walker, Edgar Allan Poe, egyptian mythology, European Romantic Literature, evil twin, Feydor Dostoyevsky, Frankenstein DVD, Franz Kafka, German folklore, Greek Mythology, History DVDs, How they met themselves, In Search Of The Real Frankenstein DVD, indian mythology, James George Frazer, Jean Paul, Jekyll and Hyde DVD, Johann Wolfgang von Goethe, legend, mark twain, mythology, native american mythology, norse mythology, Percy Blythe Shelley, personal double, Pudd’nhead wilson, Robert Luis Stevenson, roman mythology, Siebenkas, The Double (A Petersburg Poem), The Strange Case of Dr. Jekyll and Mr. Hyde, William Wilson

Beginning in the 12th century, Arab physicians began to prescribe their patients a most unorthodox remedy: the ground remains of mummies procured from Egyptian tombs.
Mummy powder proved so profitable that soon after its introduction, Egyptian tombs were ransacked not only for the riches they might contain, but also for bodies that might be processed into the expensive folk medicine. It wasn’t long before the practice of applying mummy powder was incorporated into medieval Europe’s catalog of dubious medical practices. By the 16th century, the product had become so commonplace in both Europe and the Middle East that the once seemingly endless supply of authentic, mummified Egyptian cadavers quite literally dried up.
Mummy powder, however, was not the only everyday use of the Egyptian dead that arose before the dawn of modern archaeological preservation. In the 16th and 17th centuries, pulverized mummy was the key ingredient in a popular shade of brown artist’s pigment, and preserved human and animal remains of Egyptian origin were used in the production of this “mummy brown” paint until the early 20th century.
Whether this statement was merely jest on the part of the American literary icon, well known for his sense of humor, has been the subject of debate ever since it was published. What is known, however, is that the supply of authentic Egyptian corpses by the beginning of the 1800s was so small only that upper crust Europeans could afford to purchase one whole. In the wake of Napoleon’s conquest of Egypt, it became vogue amongst the aristocracy to hold “unwrapping parties,” where carefully preserved corpses would be haphazardly stripped of their bandages, so that revelers could gaze upon the millennia-old face concealed beneath them. Small burial ornaments concealed in the linens would then be dispensed to partygoers as souvenirs, while exposure to air caused the delicate bodies to crumble into dust, never to be seen again.





